Interview
April 8, 2025
Solo dev uses UE5 to bring vision for Lushfoil Photography Sim into focus
One of the great things about interactive entertainment is that the experiences we participate in don’t have to be one dimensional in their design. By nature, they could be crafted to entertain, educate, or perhaps fall somewhere in between.
For solo developer Matt Newell, Lushfoil Photography Sim presents an opportunity to provide both novice and experienced photographers with a truly engaging experience that is as just as inspirational and informative as it is immersive and entertaining.
In Lushfoil Photography Sim, players trek through and explore beautifully crafted environments to capture stunning vistas and landscapes with their fully-featured in-game camera—which includes an abundance of settings that you might expect from a real-world professional DSLR camera.
To craft this canvas for exploration and creativity, Newell learned Unreal Engine from the ground up, utilizing resources from the UE website and engaging with the UE development community.
Then, he dove into the engine while taking full advantage of Epic ecosystem offerings including Megascans, before deploying various UE features such as Distance Fields, Contact Shadows, and Virtual Textures to produce a free-form experience that encourages and rewards curiosity rather than being beholden to a rigid set of traditional game rules.
We recently caught up with Newell to learn more about his background and the process of bringing his vision for Lushfoil Photography Sim into focus.
For solo developer Matt Newell, Lushfoil Photography Sim presents an opportunity to provide both novice and experienced photographers with a truly engaging experience that is as just as inspirational and informative as it is immersive and entertaining.
In Lushfoil Photography Sim, players trek through and explore beautifully crafted environments to capture stunning vistas and landscapes with their fully-featured in-game camera—which includes an abundance of settings that you might expect from a real-world professional DSLR camera.
To craft this canvas for exploration and creativity, Newell learned Unreal Engine from the ground up, utilizing resources from the UE website and engaging with the UE development community.
Then, he dove into the engine while taking full advantage of Epic ecosystem offerings including Megascans, before deploying various UE features such as Distance Fields, Contact Shadows, and Virtual Textures to produce a free-form experience that encourages and rewards curiosity rather than being beholden to a rigid set of traditional game rules.
We recently caught up with Newell to learn more about his background and the process of bringing his vision for Lushfoil Photography Sim into focus.
Thanks for joining us! Could you please tell us a little bit about your professional background?
Matt Newell: I graduated three years ago studying computer systems engineering in Perth, Australia. Towards the end of my degree, I would work freelance on Unreal Engine related projects in my spare time. It was very fulfilling to build my knowledge in UE and work in a huge variety of fields.
The Lushfoil project was the eventuation of both personal and client work that I was doing, and everything became more serious once I was able to connect with Annapurna. The last three years have been a concentrated effort, working full-time and mostly alone, to try and get the project done.
When and why did you first consider learning Unreal Engine?
Newell: I studied photography in high school, which was very influential for me when I was younger—I was able to learn a lot about cameras, editing and color design. Having been inspired by game technology and visuals that were available at the time, I decided to spend a few weeks learning Unreal Engine.
Creating environments in Unreal felt very liberating, as I could fine-tune almost any aspect like light, framing, composition: things that don't easily come together when doing real-world photography. I considered Unreal among other 3D software such as Cinema4D and Blender, but real-time graphics were way more intriguing (and proved to be far more efficient when creating renders to meet client deadlines).
How did the concept for Lushfoil Photography Sim come about?
Newell: After I had used my work and personal projects to build a small UE environment art portfolio, I had an assortment of Unreal projects sitting on my hard drive containing various scenes, forests, and real-world locations.
Having been inspired by some of the walking simulator games at the time, I eventually began to incorporate some light first-person mechanics using the UE-provided templates as an enjoyable new way to experience what I had created.
I continued to think about game design concepts and ideas that would make the experience more enjoyable, like adding screenshot tools, objectives, and educational material. I'd add just about anything if it was fun to work on. So Lushfoil was created as a very open-ended project, with authentic, realistic environments as its defining characteristic.
Matt Newell: I graduated three years ago studying computer systems engineering in Perth, Australia. Towards the end of my degree, I would work freelance on Unreal Engine related projects in my spare time. It was very fulfilling to build my knowledge in UE and work in a huge variety of fields.
The Lushfoil project was the eventuation of both personal and client work that I was doing, and everything became more serious once I was able to connect with Annapurna. The last three years have been a concentrated effort, working full-time and mostly alone, to try and get the project done.
When and why did you first consider learning Unreal Engine?
Newell: I studied photography in high school, which was very influential for me when I was younger—I was able to learn a lot about cameras, editing and color design. Having been inspired by game technology and visuals that were available at the time, I decided to spend a few weeks learning Unreal Engine.
Creating environments in Unreal felt very liberating, as I could fine-tune almost any aspect like light, framing, composition: things that don't easily come together when doing real-world photography. I considered Unreal among other 3D software such as Cinema4D and Blender, but real-time graphics were way more intriguing (and proved to be far more efficient when creating renders to meet client deadlines).
How did the concept for Lushfoil Photography Sim come about?
Newell: After I had used my work and personal projects to build a small UE environment art portfolio, I had an assortment of Unreal projects sitting on my hard drive containing various scenes, forests, and real-world locations.
Having been inspired by some of the walking simulator games at the time, I eventually began to incorporate some light first-person mechanics using the UE-provided templates as an enjoyable new way to experience what I had created.
I continued to think about game design concepts and ideas that would make the experience more enjoyable, like adding screenshot tools, objectives, and educational material. I'd add just about anything if it was fun to work on. So Lushfoil was created as a very open-ended project, with authentic, realistic environments as its defining characteristic.
Images courtesy of Matt Newell (@lushfoil)
As a photography sim, are you looking to appeal mostly to novice photographers, experienced photographers, or both?
Newell: Hopefully everyone, photographer or not. As much as I've tried to appeal to enthusiasts with all of the camera settings and photo-effect simulations, photography at its core is really just about creating and cherishing experiences, which is what I've tried to reflect in this game. I think each person will value something different with Lushfoil, but regardless of how the game is perceived, hopefully everyone will have a nice bunch of screenshots to look back on after playing.
What kind of work has gone into accurately replicating the cameras and the effects caused by adjusting various settings?
Newell: I've tried to create a simulated DSLR featureset that simulates how images are captured and provides full control over your image. You'll be able to adjust shutter speed, aperture, ISO, white balance, exposure comp settings, with an included long-exposure effect that I believe is the first of its kind in Unreal.
The camera system accurately combines frames when the shutter is open to produce very realistic light trail and motion trail effects. The DSLR camera is what I imagine players will use the most, but I've also added some other nostalgic shooting options such as a 2000's Digital Camera, Film Camera, Tape Camcorder, all based on some of my recent vintage camera finds.
Do you feel that players will be able to truly develop real-world photography skills through their experience with Lushfoil?
Newell: Yes, players will be able to practice all aspects that would help improve their skills—I've included a lot of tutorials and explanations on camera settings and techniques for those looking to bridge their gap in photography knowledge. The environments are also expansive enough for players to find a limitless amount of unique angles and perspectives. But all in all, being 'good' at photography is subjective: real improvement boils down to how people feel about their own photos.
Newell: Hopefully everyone, photographer or not. As much as I've tried to appeal to enthusiasts with all of the camera settings and photo-effect simulations, photography at its core is really just about creating and cherishing experiences, which is what I've tried to reflect in this game. I think each person will value something different with Lushfoil, but regardless of how the game is perceived, hopefully everyone will have a nice bunch of screenshots to look back on after playing.
What kind of work has gone into accurately replicating the cameras and the effects caused by adjusting various settings?
Newell: I've tried to create a simulated DSLR featureset that simulates how images are captured and provides full control over your image. You'll be able to adjust shutter speed, aperture, ISO, white balance, exposure comp settings, with an included long-exposure effect that I believe is the first of its kind in Unreal.
The camera system accurately combines frames when the shutter is open to produce very realistic light trail and motion trail effects. The DSLR camera is what I imagine players will use the most, but I've also added some other nostalgic shooting options such as a 2000's Digital Camera, Film Camera, Tape Camcorder, all based on some of my recent vintage camera finds.
Do you feel that players will be able to truly develop real-world photography skills through their experience with Lushfoil?
Newell: Yes, players will be able to practice all aspects that would help improve their skills—I've included a lot of tutorials and explanations on camera settings and techniques for those looking to bridge their gap in photography knowledge. The environments are also expansive enough for players to find a limitless amount of unique angles and perspectives. But all in all, being 'good' at photography is subjective: real improvement boils down to how people feel about their own photos.
Images courtesy of Matt Newell (@lushfoil)
Who do you play as in the experience and what is the main character’s motivation for exploring such exotic locales?
Newell: I've always taken a preference for games without a context, like Inside, Journey, or Minecraft. Same case here, while there are objectives and tasks, there's no precursor as to what you need to do. You just play as yourself.
The environments in the game are stunningly photorealistic. How did UE help you produce these?
Newell: UE includes an incredible amount of technological advancements—a lot of which happen automatically behind the scenes—in order for you to just focus on what you're creating, which is what I really like about it. While I have chosen not to leverage UE5 flagship features like Lumen and Nanite in this Lushfoil project, UE still provides all the tools needed to create a consistent artistic direction, and allows you to use your own techniques to enhance quality and detail where it's needed.
The environments themselves were created from scratch, and I would use photos of the real-world locations as a close reference when collecting assets and tweaking the scene's atmospherics and lighting. Hopefully players will be able to recognize the attention to detail in places they've actually been to before.
Aside from beautiful scenery, there’s a striking accuracy in the bobbing of the camera as you walk, or the realistic time it takes to traverse the terrain. How important was it to create a genuine sense of presence for the player as you were designing the game?
Newell: Super important. I've held a very high standard for myself and tried to cater almost every aspect of the game towards increasing the player's sense of immersion. I've also tried not to see the project itself as a 'game', so I've tried to reduce the game-like occurrences of things like objectives, popups, and distractions, in order to help the player increase their sense of presence in the world. The nature of the game is very non-linear—there's no "incorrect" direction to walk or way to approach objectives. I think giving the player their own freedom to choose what to do will help them feel more immersed.
Newell: I've always taken a preference for games without a context, like Inside, Journey, or Minecraft. Same case here, while there are objectives and tasks, there's no precursor as to what you need to do. You just play as yourself.
The environments in the game are stunningly photorealistic. How did UE help you produce these?
Newell: UE includes an incredible amount of technological advancements—a lot of which happen automatically behind the scenes—in order for you to just focus on what you're creating, which is what I really like about it. While I have chosen not to leverage UE5 flagship features like Lumen and Nanite in this Lushfoil project, UE still provides all the tools needed to create a consistent artistic direction, and allows you to use your own techniques to enhance quality and detail where it's needed.
The environments themselves were created from scratch, and I would use photos of the real-world locations as a close reference when collecting assets and tweaking the scene's atmospherics and lighting. Hopefully players will be able to recognize the attention to detail in places they've actually been to before.
Aside from beautiful scenery, there’s a striking accuracy in the bobbing of the camera as you walk, or the realistic time it takes to traverse the terrain. How important was it to create a genuine sense of presence for the player as you were designing the game?
Newell: Super important. I've held a very high standard for myself and tried to cater almost every aspect of the game towards increasing the player's sense of immersion. I've also tried not to see the project itself as a 'game', so I've tried to reduce the game-like occurrences of things like objectives, popups, and distractions, in order to help the player increase their sense of presence in the world. The nature of the game is very non-linear—there's no "incorrect" direction to walk or way to approach objectives. I think giving the player their own freedom to choose what to do will help them feel more immersed.
Images courtesy of Matt Newell (@lushfoil)
There are various props the player can discover to inspire creative photo ideas (the discarded paper airplane in the southern Italian location, for example). How did you go about choosing these prompts and what is their function within the game?
Newell: Some discoverables are tied to photography and can help you traverse or capture the environment in a different way, such as a boat, drone, bike, or stand-up paddle board. Other items were included just for fun, such as the kite, paper plane, umbrella, and other secrets.
You’ve hinted at there being hidden secrets for players to discover if they’re patient enough. Can you provide any further details on this?
Newell: At first, nothing presents itself—everything to experience in the game essentially has to be sought out. The player can progress if they have the willingness to find enough of the secrets on their own.
What can you tell us about the game’s atmospheric soundtrack?
Newell: I'm very proud of it! I've been building the soundtrack as a collection of licensed music over the last couple of years. I've put a lot of attention into curating the perfect playlist for each of the game's environments as the atmosphere in each is so different. I hope the player is also able to discover some new artists to listen to.
How many people are working on the project?
Newell: I've been working on the project alone, although Annapurna has brought on a team to help with console porting and Steven Green is a master sound designer who has helped me here and there.
Newell: Some discoverables are tied to photography and can help you traverse or capture the environment in a different way, such as a boat, drone, bike, or stand-up paddle board. Other items were included just for fun, such as the kite, paper plane, umbrella, and other secrets.
You’ve hinted at there being hidden secrets for players to discover if they’re patient enough. Can you provide any further details on this?
Newell: At first, nothing presents itself—everything to experience in the game essentially has to be sought out. The player can progress if they have the willingness to find enough of the secrets on their own.
What can you tell us about the game’s atmospheric soundtrack?
Newell: I'm very proud of it! I've been building the soundtrack as a collection of licensed music over the last couple of years. I've put a lot of attention into curating the perfect playlist for each of the game's environments as the atmosphere in each is so different. I hope the player is also able to discover some new artists to listen to.
How many people are working on the project?
Newell: I've been working on the project alone, although Annapurna has brought on a team to help with console porting and Steven Green is a master sound designer who has helped me here and there.
Images courtesy of Matt Newell (@lushfoil)
How have the various components of the Epic ecosystem, such as learning resources and the Marketplace (Fab), impacted your experience as a solo developer?
Newell: The Epic ecosystem has essentially been the catalyst to make this project possible. Working by myself, the resources available allowed me to save enough time in order to get everything done, not to mention the abundance of free assets and learning resources. Quixel Megascans particularly, when the library was bought out by Epic and made free for UE users, for me it felt like Christmas Day. The benefit the Quixel Megascans library has made on the project is incomparable.
Are there specific UE5 features that have stood out to you during development? Please explain.
Newell: A couple of things that I love;
Thanks for your time! Where can people go to learn more about Lushfoil Photography Sim?
Newell: Please check out Lushfoil when it drops on April 15th, you can read more about the game on its PC (Epic Games Store and Steam), PlayStation and Xbox storefronts. For release announcements, tech art discussions, and future projects, please connect with me on my socials.
Newell: The Epic ecosystem has essentially been the catalyst to make this project possible. Working by myself, the resources available allowed me to save enough time in order to get everything done, not to mention the abundance of free assets and learning resources. Quixel Megascans particularly, when the library was bought out by Epic and made free for UE users, for me it felt like Christmas Day. The benefit the Quixel Megascans library has made on the project is incomparable.
Are there specific UE5 features that have stood out to you during development? Please explain.
Newell: A couple of things that I love;
- Distance Fields - an incredibly cost-effective way to add realistic ambient occlusion and other material effects.
- Contact Shadows - small scale shadows on surfaces and geometry, that really bring out the details in the environment and make everything look much more real.
- Virtual Textures - a great way to save performance and blend environmental assets together.
- A vague one—late in the UE4 cycle, the shader compilation method was changed to only compile what was needed. The Editor loads super-fast ever since then. Best thing ever.
Thanks for your time! Where can people go to learn more about Lushfoil Photography Sim?
Newell: Please check out Lushfoil when it drops on April 15th, you can read more about the game on its PC (Epic Games Store and Steam), PlayStation and Xbox storefronts. For release announcements, tech art discussions, and future projects, please connect with me on my socials.
How to install Unreal Engine
Download the launcher
Before you can install and run Unreal Editor, you’ll need to download and install the Epic Games launcher.
Install Epic Games launcher
Once downloaded and installed, open the launcher and create or log in to your Epic Games account.
Get support, or restart your Epic Games launcher download in Step 1.
Install Unreal Engine
Once logged in, navigate to the Unreal Engine tab and click the Install button to download the most recent version.
Watch how to install